The image's irregular arrangement of forms, lines, and colors seems to have forgotten what it started out to do or become.
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The colors, forms, lines, and shapes of the style — made internationally popular by the 1925 Paris Exhibition — manifested in many artworks and manufactured goods created in Japan during those years, from paintings to matchbox designs to domestic furnishings like clocks and bookends.
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Line length could be fixed or variable, and was based on the number of syllables/characters. In more formal poetry it tended to be fixed, and varied according to specific forms. Lines were generally combined into couplets. Lines tended to be end-stopped; and, line couplets almost always.
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As an alternative visualization, consider the points X, OL & OR that form a plane called the epipolar plane. The epipolar plane intersects each camera's image plane where it forms lines—the epipolar lines. All epipolar planes and epipolar lines intersect the epipole regardless of where X is located.
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The gills are situated in the center of the dorsal side, they are yellow and protected by three round lobes. The body is stiff and protected by small spicules. The rhinophores are smooth, simple, yellow and retractable. Notodoris gardineri can be mistaken for Notodoris minor, whose body colour is also yellow with black markings except that in the latter the black forms lines on the body and not spots.
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Octavio Paz states that "Mesoamerican art is a logic of forms, lines, and volumes that is as the same time a cosmology." He goes on to state that this focus on space and time is highly distinct from European naturalism based on the representation of the human body. Even simple designs such as stepped frets on buildings fall into this representation of space and time, life and the gods.Paz, 1987 p.41.
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A much more important aspect of good SCD technique is for a dancer to ensure that they are at the proper location at the proper time. This is important because the figures often require many of the participants to be correctly achieved therefore it is difficult for the whole set to complete a dance if more than one or two dancers do not know where they should be when. "Phrasing" is the execution of figures appropriately timed to the music. "Covering", another common term, calls for moving dancers to progress in unison, this forms lines, squares etc.
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The band enters the field beginning with the tuba section, drumline, drum major, and twirlers, which march onto the field to a drum cadence while the band chants "er du klar?", the Norwegian phrase for "are you ready?". After those sections are in position, the announcer introduces both the band and the Golden Gopher Spirit Squads, and the band enters from the stadium tunnels and forms lines via "Run-Cadence," a fast-paced double-time high step cadence. The band proceeds to expand into a block formation while playing "Fanfare '87", as the announcer introduces the director, drum major, and twirlers.
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After a short period of figurative/representational work, Morellet turned to abstraction in 1950 and he adopted a pictorial language of simple geometric forms: lines, squares and triangles assembled into two-dimensional compositions. In 1961, he was one of the founders of the Groupe de Recherche d’Art Visuel (GRAV), with fellow artists Francisco Sobrino, Horatio Garcia- Rossi, Hugo DeMarco, Julio Le Parc, Jean-Pierre Yvaral (the son of Victor Vasarely), Joël Stein, Vera Molnár and François Molnár (the last two left the group shortly after). Morellet began at this time to work with neon tube lighting. From the 1960s on, Morellet worked in various materials (fabric, tape, neon, walls...) and in doing so investigated the use of the exhibition space in terms similar to artists of installation art and environmental art.
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